Anne-Sarah Le Meur

A black spot oscillates and swells, radiant. It comes closer, goes back, then, just as it is about to fade, it turns into a red disk, circled in green. These disks and halos evolve in turn, but sometimes in opposite directions, and separately. Gray at first, the background suddenly flips to a raw green. The whole reacts, palpitates, takes on other tones, always diffuse and soft, fluid and ephemeral, spread out or fine: almond or aniseed green, fir green, emerald, or khaki, deliciously dull, dotted with orange or pink. Polychrome vertigo, between virtue and debauchery! Mobile colors in an undulating frame, hypnotic and mysterious: surface or depth…? substance or ether…? matter or light…? mirage or remanence…? abstraction or suggestion…?
Since 2000, under the combined influences of Turrell, Brakhage, Rothko and Beckett (and, since 1991, of Pollock, for her first matierist period), Anne-Sarah Le Meur has been radically exploring the plastic potential of luminous phenomena in three-dimensional virtual space. Reversing a parameter, she discovered in 2003 a black light, polysemic and fascinating, which now structures her various generative works and performances. For DixVerts, she focuses on the green tints, considered arduous, but invigorating, accompanying them with caressing gray and pink counterpoints. Written in ‘Obscur’, her own software, tested slowly and patiently, her programs control the variations of multiple parameters over time. The loops modulate the compositions, induce repetition or gradation, nuance or opposition, slowness, acceleration, or rupture. Thus emerges an evolutive ballet, continuously changing, magnified in a polyptych of shadows and colorful veils.